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armature, and a 40-foot-long (12 m) extension that supports the raised arm and torch. It had been a well-documented fact that since at least 1932 (when the War
Department reinforced the arm-shoulder structure), that the support for the shoulder of the upheld arm had been misaligned. Then, it was discovered that the arch that supports the head of the statue had also been misaligned. The cause(s) of the misalignments are undetermined, but a few hypotheses have been suggested. The first hypothesis proposed was that Viollet le Ducâthe engineer who initially worked on the project with Bartholdi and who designed the structural reinforcement of the arm and the head (displayed in 1876 at the Centennial exhibition in Philadelphia) had died after having completed those two sectionsâand had employed engineering methods that differed significantly from those of the better-known bridge engineer Gustave Eiffel, who had finished the remainder of the work on the statue, and who is generally credited for the statue's remarkable structure. The second hypothesis was that the Americans, after having uncrated the different sections of the statue in 1886, incorrectly reassembled the structural framework. The third hypothesis is that the statue's creator, Bartholdi, was aesthetically dissatisfied when the statue was fully assembled and displayed in Paris on or just prior to July 4, 1884, and that he must have willingly sacrificed the structural integrity for his aesthetic vision.
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compromising the structural stability of many different components. The insulating layer had lost much of its functional isolating capacity due to exposure to interior condensation, leakage and possibly from other variable atmospheric effects of the marine environment. It had deteriorated into a sponge-like material which merely retained the saltwater as a conductive electrolyte. Hastening the decline of the corroded iron, the buildup of corrosive discharge exerted pressure on the riveted copper saddles that had held the iron bars in place. This created buckling and warping, and further caused the rivets to become disjointed. Rainwater would seep into the holes in the copper sheathing which once held the disjointed rivets. Some of the seams and holes were still sealed and coated with a coal tar paint applied in 1911. The streaks of coal tar paint from when it had been applied 74 years earlier were still visible during the restoration efforts. Black tar streaks from these so-called "weep holes" were running down the exterior of the statue and had altered the patina of the external copper sheathing.
277:(a coal tar coating) that had been used as a water sealant in the statues interior around 1911. The three available coating removal methods tested, developed (or not) and implemented (or not) were: thermal coating removal, abrasive coating removal and chemical coating removal. The methods contemplated for the removal of the coatings on the interior copper differed from that of the other interior metals. For the preparation of the wrought iron parts of the statue, an abrasive removal method also known as dry sandblasting was implemented in order to prevent against flash rusting. The low dusting abrasive material used in the dry sandblasting technique was aluminum oxide. The contractor firm responsible for much of the cleaning and painting of the Statue of Liberty, Ben Strauss Industries of New York, used over $ 90,000 worth of aluminum oxide supplied by Norton Corp. of Massachusetts to blast the corroded layer of iron from the rusting frame.
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consultants were unfamiliar with the construction procedures and standards, and the design and business practices employed in the United States. The inclusion of
American participation was of obvious and pragmatic necessity to the restoration work that lay ahead. Several architects, structural engineers, and representatives from the NPS were brought aboard on the project. Construction work would be assigned to U.S. contractors, and by July 1983, a joint diagnostic report was completed by the newly joint group of consultants and presented to NPS officials. By December 1983, the U.S. group assumed many of the responsibilities concerning the design aspect of the project, and by August 1984, the U.S. team terminated its contract with the French American Committee, owing to the Committee's considerable fundraising problems and other related matters. The associate architect for the restoration was
527:, the architects on the project assured the reporter that despite the misalignment, "cosmetic changes" to the statue would not take place. Several commentators on the historic restoration project seemed to have reiterated a similar guiding sentiment: that preservation rather than unnecessary replacement would be the objective of the current restoration effort. This was quite reassuring, in the light of proposals put forward early on during the restoration efforts such as the following: "cleaning and polishing of the statue's exterior; demolition of the statue, selling of the copper and the use of the funds raised to build an exact duplicate in fiberglass; the application of an epoxy coating to the exterior and the construction of a competing monument..."
149:, as it had caused the iron bands to corrode. Alterations over the intervening years (1887â1916) to the torch had created such irreversible damage to the integral stability of that segment, that it was advised in the report that the torch be replaced. In order to more thoroughly assess possible damage that may be hidden beneath the layers of paint on the central pylon, the French consultants also suggested that the layers of paint covering it be removed. Two alternative proposals for modernizing the stairway within the statue were also proposed. From these preliminary observations, a number of preservation and replacement priorities were made. The white paper was further assessed and scrutinized by the NPS and other officials at the
109:(NPS), the custodians of the statue since 1933, to investigate possible development alternatives. A report titled "Analysis of Alternatives", published in December 1980, proposed measures to remedy the certain conditions confronting visitors to the Statue of Liberty, such as the long lines and waiting time to enter the crown of the statue. The proposed measures included the instatement of systems for numbered ticketing and early warnings that would allow visitors to estimate any possible waiting times and to be conveniently advised if and when to visit or enter the statue. The report also discussed ways to streamline ferry access both to and from Liberty Island and
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404:, developed a greenish liquid composed of corroded copper particles roughly matching the statue's exterior in chemical composition, which was then sprayed over the tar streaked exterior. The sprayed on particles were then left to develop and spread over the streaks and stains. Both researchers, specializing in the study of the corrosion on copper and copper alloys became interested in the restoration efforts and proposed to donate their expertise to the restoration effort as it would afford them with an opportunity to study the effects of the atmosphere on the hundred-year-old copper structure.
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preexisting misalignment by adding new diagonal bracing and steel plates. The latter option would have the intended effect of further reinforcing the repairs that had been made when the problem was initially noticed in 1932 by the War
Department when it had jurisdiction over the statue. Regardless, the "finite element analysis" of the computer simulation showed that both solutions would work. Additional supports were also added inside the head to improve overall stability. Hence, the positions of the arm and the head would remain as they had been since they were reassembled on
164:) which would act as an "umbrella group" overseeing the French American Committee and the Ellis Island Restoration Commission. The Statue of Liberty-Ellis Island Foundation would try to privately raise funds for the restoration efforts. A report prepared by the NPS in September 1982, titled "General Management Plan", sought to discuss the fundraising aims and objectives of the newly created foundation, but reiterated most of the proposed measures (concerning the statue) of the earlier 1980 report "Analysis of Alternatives" (such as numbered ticketing systems, etc.).
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which liquid nitrogen was sprayed on the paint-covered surface. The liquid nitrogen would embrittle the layers of the paint at â320 °F (â195.6 °C), causing the cracking paint to lose the adherent properties it once possessed. It was estimated that approximately 3,500 US gallons (13,000 L) of liquid nitrogen would be needed for the interior coating removal. According to the researchers, "the use of liquid nitrogen in large scale coating removal was somewhat innovative." The Linde division of the
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design and construction choices implemented initially, but Eiffel could not have directly been responsible for such glaring mistakes according to the (same) architect. Computer aided design drawings were used to illustrate how the head and the hand wielding the torch had been misaligned, and how the misalignment had caused the spikes of the crown to damage a section of the torch-bearing arm. The "13 trouble spots of the statue" were visually emphasized in a front-page article in
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the search for the right blasting material to remove the coal tar, including cherry pits, powdered glass, plastic pellets, salt, rice and sugar. However, all were either "too abrasive or too mild. Strauss then considered sodium bicarbonate (baking soda), noting that it is used in household cleaning and in museums for cleaning delicate artifacts. When test blasting at 60 PSI, the contractor found it removed coal tar but did not harm copper.
427:, was chosen to replace the flat bars that connect the secondary framework to the armature. As the armatures provide the structural support for the copper skin, it was determined that no more than four bars from each of four different sections of the statue (for a total of sixteen bars) be removed at any given time. These were then replicated mostly by eye, and the replacements installed within 36 hours of the removal of the original. An
360:, signed an agreement with the former company to become the sole manufacturer and sales agent of the zinc silicate variant. The protective coating was renamed IC 531, but much like the original coating developed by NASA was a high-ratio waterborne zinc silicate. The IC 531 was used in the restoration efforts to provide a number of the structural elements of the statue with superior corrosion resistance.
543:, published less than a month and a half from the centennial celebration, discussed the changes within the statue as being the most spectacular. The journalist added: that "now that the walls have been removed, what is revealed is an interior that seems to combine the toughness of 19th century industrial construction and the grace of a cathedral."
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the statue, and required ingenuity from its designers, as it could only be attached to the granite pedestal and not the statue and had to accommodate the intricate contours of the statue as well. Furthermore, the exterior scaffolding had to maintain a distance of at least 18 inches from any exposed section of the
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statue. The NPS vowed to support the historical documentation effort, and a photographer was hired to photograph the entirety of the restorationâbefore, during, and after. Owing to this decision, an archive of two hundred large format photographsâboth black and white, and multicolorâwere developed for NPS and the
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and the interior would be adequately weatherproofed. The preexisting interior coatings on both the secondary wrought iron framework and the wrought iron central pylon would be removed along with the multiple layers of coal tar and paint that had been applied to the internal copper sheathing. An article in
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steps. Much of the interior had been reconstructed, with a great deal of emphasis placed on enhancing the visitors experience, as the original structure was not devised with the visitor in mind, poor lighting conditions, no ventilation and a very inadequate and basic heating system were to be changed.
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from
October 8, 1984, stated that the new torch was to be completed in the same manner that the old torch was made in 14 months by ten craftsmen from Les metalliers Champenois based in Reims, and that a workshop at the statue's base on Liberty Island had been made accessible to the public that month.
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Once the layers of paint had been removed from the interior of the statue, the architects and engineers knew that a coating system far more suitable than any of the preexisting applications that had been used would need to be implemented to protect the iron of the statue's interior. The coating would
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Several coating removal methods for the interior copper were ruled out. According to the evaluative research completed, the abrasive removal method (involving aluminum oxide) could damage the underlying layer of the copper substrate. Highly flammable and toxic chemical removal methods were ruled out,
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Once the interior scaffolding was installed, a thorough evaluative survey of the interior coatings was executed. The acknowledged presumption of most involved in the restoration was that all coatings would be removed from the interior metals, that repairs would be made, that metals would be recoated,
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The scaffolding contract was awarded to a company called
Universal Builders Supply (UBS) Inc. on December 14, 1983. The contract stipulated that the freestanding exterior scaffold was to be completely assembled by April 27, 1984. The 240-foot-high (73 m) scaffolding was designed specifically for
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Earlier in 1982, the French
American Committee began looking for U.S. consultants to complement the technical work already begun by the four French consultants. They would need to prepare a detailed diagnostic report to investigate the conditions of the Statue in further detail, as many of the French
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December 17, 1985 indicated that the most serious internal problem with the statue was the corrosion that had taken place in the iron armatures which provide the support to the copper sheathing. Eiffel knew that galvanic reaction would immediately pose a problem, owing to the dissimilarity of the
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was donated by the ton and applied as the cleaning agent that would be abrasive yet gentle on the copper sheathing. Because baking soda absorbs moisture in the air, dehumidifiers were installed at the compressor pumping air to the blasting tools to keep the tools from clogging. Once the coal tar was
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is a bureau) later that month, on May 26, agreed to a working relationship with the
Committee. In June 1981, the Committee was incorporated as a non-profit foundation licensed by the State of New York to raise funds for the restoration effort. The Committee hired four French consultants said to have
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February 8, 1984, mentioned that the idea to have an elevator that would reach to the crown of the statue had been recently abandoned. A double level hydraulic glass elevator would be installed inside the base of the statue from which visitors would be able to access the crown by ascending a few
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One of the main architects of the restoration project was initially convinced that the second hypothesis was correct, but according to a quoted and published statement, recent research had convinced him of the veracity of the third hypothesis. The most significant problems were consequences of poor
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Within the copper body of the statue is the structural support system consisting of a 97-foot (30 m) central pylon, which is the backbone of the statue. The pylon consists of four girders with horizontal and diagonal cross bracing systems, which provide support to the secondary framework and to the
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of May 31, 1986, reported that inspection crews overseeing the restoration efforts had noticed several months earlier that a 5-foot-long (1.5 m) armature bar near one of the arms had been stamped with the forty names of the forty iron workers who had installed the armatures. The bar, which had
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primer coating called K-Zinc 531, the name owing to the ratio of silicon/potassium to water being 5:3:1. The coating had the following characteristics: it was non-toxic, non-flammable, and would dry smoothly on metals within half an hour of surface application. In 1981, NASA granted the license for
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method was successful in removing the top coating, it was inadequate for the removal of the two final layers of bituminous coating that were below the surface of the seven layers of lead and vinyl based paints. Victor
Strauss, president of Ben Strauss Industries, tried a wide range of substances in
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and a historical architect working for the (North Atlantic Historic Preservation Center) NAHPC sought to address the attendant difficulties of removing the different layers of paint without further damaging the statue. The researchers finally decided upon an innovative cryogenic removal method, in
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of the statue, the pretext was adopted of using aluminum. Screw jacks were used to brace the aluminum against the granite pedestal of the statue. More easily an interior scaffolding was developed made of interlocking pipes held together with friction clamps and anchored to the central pylon of the
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surrounding the outside of the statue would begin in the fall of 1983, and it was still believed in July 1983 that the restoration would begin sometime in the fall. NPS representatives retracted and revised the earlier announcement concerning the closure of the Island to the public; Liberty Island
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The report, written with the assistance of a regional historical architect from the NPS, was an attempt to identify and address the apparent problems associated with the statue. In the report, the consultants took note of what they saw to be the most serious problem affecting the statue: that two
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Prior to the restoration, much of the internal structure of the statue was out of sight behind the mesh wire walls of the original helical stairs. The stairs were originally intended for workmen. Neither the architect nor the artist had envisioned that the lady would welcome visitors internally.
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Corporation of Danbury, Connecticut, which at the time was almost the "largest producer of liquid atmospheric gases in the United States", donated the liquid nitrogen for the restoration efforts. The company's researchers also worked with the NPS in fabricating special tools for controlling the
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statue in eastern France. Much of the Statue of Liberty restoration effort was based on unprecedented restorative methods, as metallurgical repair work on such a large scale had never been attempted. Many scientists, engineers, government organizations, and professional consultants evaluated and
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Also see Cliver, E.B. and Baboian, R., "Corrosion on the Statue of Liberty: an overview". In: The Statue of Liberty Restoration: Proceedings of the Statue of Liberty - Today for Tomorrow Conference, October 20â22, 1986, New York City, New York. , Houston, Tex.: National Association of Corrosion
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published the day after, indicated that the 30-month project had officially begun the day before, and that visitors would have approximately two weeks remaining before the statue would be completely enshrouded by the tons of extruded aluminum scaffolding that had just been deposited on Liberty
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Just prior to the restoration efforts, there were an insufficient number of photographs documenting the initial reassembly of the statue (when it had been given), and too few photographs documenting the condition of the statue since its construction that were relevant to the maintenance of the
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With the computer simulations of the CAD program, the architects were able to assess the likelihood of implementing either of the following options to address the misalignment issue: the option of rebuilding the arm-shoulder connection as Eiffel had envisioned it, or they could strengthen the
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was considered as a possible alternative metal for the replication of the "puddled" iron armatures but was ruled out. The NPS performed tests to assess the suitability of possible replacement materials for the iron bars. 316L stainless steel was selected to replace the approximately 1800 iron
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The original insulating layer implemented between the copper sheathing and the iron bars was an asbestos cloth soaked in shellac. This insulating and isolating system had separated the two metals when it was constructed, but the ingeniously devised system had broken down over time and was
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would be completely closed to the public for as long as one year beginning in 1984. The statue had been closed only once before for such an extended period of time, and that was at one point in the late 1930s. Later announcements stated that the erection of the
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stripped, the baking soda leaked through the holes and crevices in the sheathing, and was affecting the coloration of the patina on the external side of the statue so the workers would rinse the outer surface of the statue, to prevent the baking soda from
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inch (51 by 16 mm) ribbon-like armature bar that made up the unique internal structure of the statue (as the bars are not connected to the copper skin, but are held in place by the copper saddles that are riveted into the copper skin). An article in
129:, a structural engineer and a mechanical engineer who were asked to compose a technical report on the physical condition of the statue. The French consultants visited Liberty Island in May, June, October and December 1981, before presenting a preliminary
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Bellante, E.l., and Cliver, E.B, 1987 "Restoring the Statue of Liberty: Construction or Conservation?" In: Old cultures in New Worlds 8th ICOMOS General Assembly and International Symposium. Programme report - Compte rendu. US/ICOMOS, Washington, p.
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Replacement bars were annealed and sandblasted to remove iron filings and other contaminants that would or could eventually cause the stainless steel to rust, and then dipped in nitric acid for protection. The "long term service behavior" of 316L
240:. The 6,000 or so separate components of the scaffold, made of a high load capacity aluminum (alloy 6061 T6), were unloaded onto Liberty Island on January 23, 1984. To prevent possible rust stains from affecting the exterior
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statue for structural support. The twenty UBS workers often resorted to assembling the interior scaffolding when the severe winds and dreadful winter weather conditions prevented them from continuing their work outside.
202:(CAD) program. The drawings were to aid in the future maintenance of the statue. These drawings were later given to the NPS, and were important in analyzing the wind bearing capacity of the structure within the statue.
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A small yet powerful sandblasting tool that would sandblast and vacuum simultaneously was developed specifically for the removal of the stubborn coating. Ben Strauss Industries worked with the Blast and Vac company of
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predominant sections, the torch-bearing arm and the rest platform at the head level, had corroded significantly. The report also alluded to the corroded girders toward the top of the pedestal and the bottom of the
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metals used in the statue (copper and iron), which unless insulated would corrode rapidly. However, the method used to try to prevent galvanic corrosion of the armature system had proven to be ineffective.
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Strauss, V., "Coating removal from the statue's Interior" in The Statue of Liberty restoration: Proceedings of the today for tomorrow conference ed. Baboian, R., Bellante, E.L, and Cliver, E.B., p.121.
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Howe, J., 2002, "A 'Monster Edifice': Ambivalence, Appropriation, and the Forging of Cultural Identity at the Centennial Exhibition", The Pennsylvania Magazine of History and Biography, 126:4 p.648.
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to design "a standard blasting nozzle inside a vacuum cleaner head" to prevent excessive dust from forming in the interior of the statue by sucking the abrasive and coating chips into a tank.
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Because certain sections that had corroded were hidden beneath the layers of coatings, no attempt was made to salvage any of the seven layers of paint, (consisting of a base coat of
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in the nation's capital on March 5, 1982. The director of the NPS was impressed by the report, but also concerned about the future prospects of the Committee's fund raising efforts.
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would in fact remain open and closings would be intermittent and only for several days at a time at most. The restoration would not begin until January 23, 1984. An article from
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as they would have been far too time-consuming and could have negatively affected the delicate patina of the exterior (if seepage of the chemicals were to have occurred).
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who had some involvement in the early stages of the restoration effort, was not known. The replacement bars of the iron grid system were insulated from the copper with a
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The preparations for the centennial celebration of the Statue of Liberty began in 1979. The centennial conservation-restoration project was formed by the
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to the National Park Service on the seventeenth of December in Washington, D.C., titled "French Technical Report on Restoring the Statue of Liberty".
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of July 20, 1983. The head was 2 feet (61 cm) off center and the upheld arm was 18 inches (46 cm) away from where it was designed to be.
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of February 8, 1984, mentioned that the interior copper which was at that time painted "government green" would be cleaned to resemble the
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to be replaced, was paid for by the contractors. Before being replaced, the bar was photographed; the image is in the June 1986 issue of
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Blumberg, B., "Celebrating the Immigrant: An administrative History of the Statue of Liberty National Monument," p.139-140.
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340:) emission rating. A coating was sought for the sandblasted central pylon, and the secondary framework, and was found.
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Shortly thereafter, the Secretary of the Department of the Interior announced in May 1982 the creation of a 21-member
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863:"Lessons learned from a lady; the recent Statue of Liberty restoration provided some unique research opportunities"
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have to be able to provide protection against corrosion in a marine environment and have to have a zero level VOC (
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were replaced in 1937â38, the restoration effort involved the successful attempt to replace nearly every 2 by
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1002:"A Triumph of Restoration Enters Its Final, Fenzied Weeks - For Miss Liberty, A New Grandeur"
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Gale, F.; Robbins, J. C. (1984). "Removal of Interior Coatings at the Statue of Liberty".
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Gilmore, E.V., 1986, "Engineering Miss Liberty's Rescue" Popular Science, 228:6, p.104.
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614:"How Architect Thierry Despont Is Transforming Landmarks Like the Ritz and the Plaza"
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From November 7, 1982, public announcements were made by project officials that the
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Hayden, Richard Seth; Despont, Thierry W.; Post, Nadine M.; Cornish, Dan (1986).
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In 2019 the original torch was made a permanent exhibit in the newly constructed
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707:"Statue of Liberty Will Be Closed for Restoration in 1984 for As Long As a Year"
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from 1886 to 1984 was removed in the restoration and is now exhibited in the
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company working along with a steel contractor undertook the difficult task.
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considerable expertise in their respective fields: an architect-engineer, a
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640:"AT HOME WITH: Thierry W. Despont; Court Architect to Industry's Sun Kings"
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Russell, K., 2004, "The Case of the Lamed Lady Liberty" Design News, 124.
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dealt with the various problems and tasks facing the restoration effort.
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French American Committee for the Restoration of the Statue of Liberty
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The torch was removed from the statue on July 4, 1984. An article in
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was formed in May 1981. The Department of the Interior (of which the
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Restoring the Statue of Liberty: sculpture, structure, symbol
892:"Bell Lab Scientists Working as Liberty's 'Dermatologists'".
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Conservation and restoration of immovable cultural property
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Conservation and restoration of movable cultural property
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2027:
Digital repository audit method based on risk assessment
539:
Elevators were first installed in 1908â9. An article in
318:
A commercial grade bicarbonate of soda, manufactured by
69:
2675:
Conservation-restoration of the Sistine Chapel frescoes
809:
Bulletin of the Association for Preservation Technology
796:
407:
369:
Condition of the iron grid system prior to restoration
2718:
284:
158:
Statue of Liberty-Ellis Island Centennial Commission
972:"Interior Restoration Set at the Statue of Liberty"
737:"Statue of Liberty to Be Repaired Starting in Fall"
289:Two researchers, an architectural conservator from
330:
2756:Conservation and restoration of cultural heritage
2680:Conservation-restoration of the Statue of Liberty
1816:Mold control and prevention (library and archive)
1631:Conservation and restoration of cultural property
488:
273:plus six additional coats) and the two layers of
2742:
2703:Preservation Metadata: Implementation Strategies
2693:Conservation response to flood of Arno, Florence
2657:Conservation-restoration of Leonardo da Vinci's
730:
728:
674:
672:
670:
668:
2698:Modern and Contemporary Art Research Initiative
2670:Conservation-restoration of the Shroud of Turin
1066:The Statue of Liberty - Ellis Island Foundation
2634:Conservation issues of Pompeii and Herculaneum
1791:Integrated pest management (cultural property)
681:"Engineers Fix Original Defects in the Statue"
145:sheet of the statue and the iron bands of the
1555:
1086:
1029:
725:
665:
582:
558:
917:"New Torch of Liberty to Be Built by French"
447:(Teflon) polymer resin tape produced by the
439:, according to a professor of metallurgy at
805:
325:turning the green patina of the statue blue
248:
22:Statue of Liberty restoration project, 1984
2199:Books, manuscripts, documents and ephemera
1562:
1548:
1093:
1079:
996:
843:"Chemicals help rejuvenate Miss Liberty".
569:
567:
518:
1746:Disaster preparedness (cultural property)
162:Statue of Liberty-Ellis Island Foundation
1646:Conservation science (cultural property)
860:
611:
206:Implementation of diagnostic assessments
85:
73:
62:The restored statue was reopened during
17:
564:
363:
2743:
1485:1984â1986 conservation and restoration
969:
734:
638:Iovine, Julie V. (December 18, 1997).
637:
493:
1543:
1529:National symbols of the United States
1444:Statue of Liberty commemorative coins
1100:
1074:
878:
876:
856:
854:
762:"Renovation Begins on Miss Liberty".
612:Reginato, James (November 27, 2015).
441:Massachusetts Institute of Technology
70:Pre-restoration documentation efforts
861:Peterson, Ivar (December 20, 1986).
678:
299:application of the liquid nitrogen.
186:Historic American Engineering Record
1223:Statue of Liberty National Monument
408:Replacement of the iron grid system
352:the coating to Shane Associates of
210:
196:American Society of Civil Engineers
78:View of the Statue of Liberty from
48:Statue of Liberty National Monument
13:
1831:Preservation (library and archive)
1173:
873:
851:
679:Sims, Calvin (December 17, 1985).
285:Alternative removal method adopted
14:
2767:
1049:
970:Perlez, Jane (February 8, 1984).
343:In 1970, a patent was awarded to
2728:
2685:Conservation-restoration of the
2561:Indigenous intellectual property
1496:Egypt Carrying the Light to Asia
1384:Working on the Statue of Liberty
1796:Inventory (library and archive)
1696:Cultural property documentation
1439:Statue of Liberty Forever stamp
990:
963:
953:
944:
935:
909:
900:
885:
836:
770:
766:. January 24, 1984. p. B3.
755:
735:Shenon, Philip (July 5, 1983).
331:Coating and sealant application
2194:Bone, horn, and antler objects
1736:Digital photograph restoration
1112:Liberty Enlightening the World
713:. November 7, 1982. p. 50
699:
631:
605:
588:
489:Structural misalignment issues
90:The original torch carried by
32:Liberty Enlightening the World
1:
2379:South Asian household shrines
2077:Reconstruction (architecture)
2007:Cultural property radiography
1964:Registrar (cultural property)
1716:Cultural resources management
1676:Collections management system
1464:United States ten-dollar bill
1300:Strengthen the Arm of Liberty
546:
2648:Conservation-restoration of
2639:Conservation-restoration of
2012:Detachment of wall paintings
1786:Intangible cultural heritage
1701:Cultural property exhibition
1686:Cultural heritage management
1449:American Platinum Eagle coin
896:. June 29, 1986. p. C1.
7:
2092:Transfer of panel paintings
1459:American Innovation dollars
34:), a colossal sculpture on
10:
2772:
2556:Heritage language learning
1826:Optical media preservation
1507:personification of Liberty
1469:Statue of Liberty Division
1133:Frédéric Auguste Bartholdi
1023:
402:AT&T Bell Laboratories
151:Department of the Interior
44:Frédéric Auguste Bartholdi
2624:
2596:Oral history preservation
2437:
2166:
2110:
1977:
1879:
1711:Cultural property storage
1706:Cultural property imaging
1581:
1477:
1454:Presidential dollar coins
1363:
1284:
1249:
1241:Musée des Arts et Métiers
1210:
1184:
1171:
1127:Ădouard RenĂ© de Laboulaye
1119:
1108:
1034:. New York: McGraw-Hill.
595:Engineers, 1990, 149 pp.
583:Hayden & Despont 1986
559:Hayden & Despont 1986
338:volatile organic compound
2643:by ElĂas GarcĂa MartĂnez
1861:Sustainable preservation
1490:Statue of Liberty Museum
1233:Statue of Liberty Museum
483:Statue of Liberty Museum
468:
249:Interior coating removal
96:Statue of Liberty Museum
2601:Preservation of meaning
2586:Language revitalization
2254:Illuminated manuscripts
2032:Historic paint analysis
1924:Conservation technician
1726:Deaccessioning (museum)
1666:Collections maintenance
1591:Agents of deterioration
1315:Oklahoma City, Oklahoma
519:Preservation objectives
354:Wynnewood, Pennsylvania
2611:Tradition preservation
2264:Iron and steel objects
2153:Outdoor bronze objects
2097:UVC-based preservation
1954:Photograph conservator
1919:Conservation scientist
1671:Collections management
1601:Archaeological science
1407:Statue of Liberty play
1310:Fayetteville, Arkansas
1178:
847:: 19â20. July 2, 1986.
102:
83:
23:
2616:Traditional knowledge
2581:Language preservation
2189:Ancient Greek pottery
2087:Textile stabilization
1949:Paintings conservator
1836:Preservation metadata
1721:Database preservation
1575:historic preservation
1400:The Statue of Liberty
1340:Ăle aux Cygnes, Paris
1320:Overland Park, Kansas
1260:Centennial Exposition
1258:Right arm and torch:
1192:EugĂšne Viollet-le-Duc
1177:
1056:The Statue of Liberty
780:. UBS. Archived from
778:"UBS Company History"
373:Although many of the
358:Malvern, Pennsylvania
200:computer-aided design
188:(HAER). According to
160:(better known as the
122:National Park Service
107:National Park Service
89:
77:
21:
2404:Time-based media art
2214:Copper-based objects
2128:Archaeological sites
2057:Mass deacidification
2002:Cradling (paintings)
1914:Conservator-restorer
1741:Digital preservation
1325:Pine Bluff, Arkansas
364:Iron armature system
2708:World Heritage Site
2571:Indigenous language
2471:Endangered language
2369:Shipwreck artifacts
2349:Photographic plates
2299:Musical instruments
2052:Lining of paintings
1969:Textile conservator
1944:Objects conservator
1934:Exhibition designer
1841:Preservation survey
1766:Found in collection
1656:Collection (museum)
1626:Calendar (archives)
1596:Archival processing
1519:Black Tom explosion
1409:(American football)
1266:Madison Square Park
1158:Richard Morris Hunt
1060:Library of Congress
784:on December 5, 2014
494:Initial assessments
485:on Liberty Island.
416:armature bars, and
291:Columbia University
147:structural armature
2566:Indigenous culture
1909:Collection manager
1806:Media preservation
1801:Inventory (museum)
1661:Collection catalog
1435:(1954â1965 stamps)
1403:(1985 documentary)
1371:In popular culture
1275:Paris World's Fair
1179:
1166:, pedestal funding
1006:The New York Times
976:The New York Times
921:The New York Times
894:The New York Times
764:The New York Times
741:The New York Times
711:The New York Times
685:The New York Times
644:The New York Times
541:The New York Times
532:The New York Times
525:The New York Times
505:The New York Times
475:The New York Times
456:The New York Times
420:, a high chromium
390:The New York Times
256:The New York Times
228:The New York Times
191:The New York Times
103:
84:
24:
2751:Statue of Liberty
2716:
2715:
2665:Pompeian frescoes
2551:Heritage language
2441:cultural heritage
2229:Flags and banners
2174:cultural property
2138:Heritage railways
2118:cultural property
2067:Paleo-inspiration
1751:Film preservation
1691:Cultural property
1681:Cultural heritage
1571:Cultural heritage
1537:
1536:
1239:Original statue:
1102:Statue of Liberty
1041:978-0-07-027327-6
601:978-1-877914-12-6
217:Statue of Liberty
46:, is part of the
28:Statue of Liberty
2763:
2733:
2732:
2724:
2652:by Thomas Eakins
2650:The Gross Clinic
2546:Folklore studies
2456:Applied folklore
2429:Wooden furniture
2424:Wooden artifacts
2419:Woodblock prints
2399:Tibetan thangkas
2259:Insect specimens
2148:Outdoor artworks
2143:Historic gardens
1776:Heritage science
1564:
1557:
1550:
1541:
1540:
1426:Medal of Liberty
1377:The New Colossus
1353:United Kingdom:
1346:Flame of Liberty
1231:Original torch:
1197:Maurice Koechlin
1154:, donated copper
1095:
1088:
1081:
1072:
1071:
1045:
1018:
1017:
1015:
1013:
1000:(May 27, 1986).
998:Goldberger, Paul
994:
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386:
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320:Arm & Hammer
275:bituminous paint
238:copper sheathing
211:Early beginnings
2771:
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2766:
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2762:
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2760:
2741:
2740:
2739:
2727:
2719:
2717:
2712:
2659:The Last Supper
2626:
2620:
2606:Primitive music
2516:Folk instrument
2491:Family folklore
2481:Ethnomusicology
2476:Ethnochoreology
2443:
2440:
2433:
2354:Plastic objects
2339:Performance art
2324:Panel paintings
2319:Painting frames
2284:Leather objects
2204:Ceramic objects
2176:
2173:
2171:
2170:and restoration
2169:
2162:
2120:
2117:
2115:
2114:and restoration
2113:
2106:
2072:Paper splitting
1987:Aging (artwork)
1979:
1973:
1959:Preservationist
1881:
1875:
1731:Digital library
1583:
1577:
1568:
1538:
1533:
1524:Musée Bartholdi
1473:
1420:Liberty Fanfare
1413:Liberty Weekend
1387:(1946 painting)
1379:" (1883 sonnet)
1359:
1293:United States:
1280:
1251:
1245:
1206:
1180:
1169:
1164:Joseph Pulitzer
1152:EugÚne Secrétan
1115:
1104:
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822:10.2307/1494040
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513:Bedloe's Island
496:
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471:
437:stainless steel
429:art restoration
422:stainless steel
410:
383:
379:
378:
371:
366:
333:
287:
271:red lead primer
262:color of a new
251:
213:
208:
170:Thierry Despont
72:
64:Liberty Weekend
40:New York Harbor
12:
11:
5:
2769:
2759:
2758:
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2598:
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2591:Living history
2588:
2583:
2578:
2576:Language death
2573:
2568:
2563:
2558:
2553:
2548:
2543:
2538:
2533:
2528:
2523:
2518:
2513:
2511:Folk etymology
2508:
2503:
2498:
2493:
2488:
2483:
2478:
2473:
2468:
2463:
2461:Dance notation
2458:
2453:
2447:
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2435:
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2432:
2431:
2426:
2421:
2416:
2411:
2406:
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2396:
2391:
2386:
2381:
2376:
2374:Silver objects
2371:
2366:
2361:
2356:
2351:
2346:
2341:
2336:
2331:
2326:
2321:
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2160:
2158:Outdoor murals
2155:
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2135:
2130:
2124:
2122:
2108:
2107:
2105:
2104:
2099:
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2084:
2082:Rissverklebung
2079:
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2054:
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2044:
2039:
2034:
2029:
2024:
2019:
2014:
2009:
2004:
1999:
1997:Arrested decay
1994:
1989:
1983:
1981:
1980:and techniques
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1773:
1771:Heritage asset
1768:
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1616:Bioarchaeology
1613:
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1396:
1395:(1949 musical)
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1218:Liberty Island
1214:
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1204:
1202:Joachim GiĂŠver
1199:
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1139:Gustave Eiffel
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1050:External links
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2309:New media art
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2269:Ivory objects
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2255:
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2249:Human remains
2247:
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2239:Glass objects
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2131:
2129:
2126:
2125:
2123:
2119:
2116:of immovable
2109:
2103:
2100:
2098:
2095:
2093:
2090:
2088:
2085:
2083:
2080:
2078:
2075:
2073:
2070:
2068:
2065:
2063:
2060:
2058:
2055:
2053:
2050:
2048:
2045:
2043:
2040:
2038:
2035:
2033:
2030:
2028:
2025:
2023:
2020:
2018:
2017:Desmet method
2015:
2013:
2010:
2008:
2005:
2003:
2000:
1998:
1995:
1993:
1990:
1988:
1985:
1984:
1982:
1976:
1970:
1967:
1965:
1962:
1960:
1957:
1955:
1952:
1950:
1947:
1945:
1942:
1940:
1937:
1935:
1932:
1930:
1927:
1925:
1922:
1920:
1917:
1915:
1912:
1910:
1907:
1905:
1902:
1900:
1897:
1895:
1892:
1890:
1887:
1886:
1884:
1882:and expertise
1878:
1872:
1871:Web archiving
1869:
1867:
1864:
1862:
1859:
1857:
1854:
1852:
1849:
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1844:
1842:
1839:
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1834:
1832:
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1827:
1824:
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1819:
1817:
1814:
1812:
1809:
1807:
1804:
1802:
1799:
1797:
1794:
1792:
1789:
1787:
1784:
1782:
1781:Inherent vice
1779:
1777:
1774:
1772:
1769:
1767:
1764:
1762:
1759:
1757:
1754:
1752:
1749:
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1739:
1737:
1734:
1732:
1729:
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1724:
1722:
1719:
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1714:
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1702:
1699:
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1679:
1677:
1674:
1672:
1669:
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1664:
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1659:
1657:
1654:
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1649:
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1637:
1634:
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1624:
1622:
1619:
1617:
1614:
1612:
1609:
1607:
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1602:
1599:
1597:
1594:
1592:
1589:
1588:
1586:
1580:
1576:
1572:
1565:
1560:
1558:
1553:
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1546:
1545:
1542:
1530:
1527:
1525:
1522:
1520:
1517:
1515:
1512:
1508:
1505:
1504:
1503:
1500:
1498:
1497:
1493:
1491:
1488:
1486:
1483:
1482:
1480:
1476:
1470:
1467:
1465:
1462:
1460:
1457:
1455:
1452:
1450:
1447:
1445:
1442:
1440:
1437:
1434:
1433:Liberty Issue
1431:
1427:
1424:
1422:
1421:
1417:
1416:
1414:
1411:
1408:
1405:
1402:
1401:
1397:
1394:
1393:
1389:
1386:
1385:
1381:
1378:
1374:
1372:
1369:
1368:
1366:
1362:
1356:
1352:
1351:
1348:
1347:
1343:
1341:
1337:
1336:
1331:
1328:
1326:
1323:
1321:
1318:
1316:
1313:
1311:
1308:
1306:
1305:Austin, Texas
1303:
1302:
1301:
1298:
1296:
1292:
1291:
1289:
1287:
1283:
1276:
1272:
1271:
1267:
1264:
1261:
1257:
1256:
1254:
1248:
1242:
1238:
1237:
1234:
1230:
1229:
1224:
1221:
1220:
1219:
1216:
1215:
1213:
1209:
1203:
1200:
1198:
1195:
1193:
1190:
1189:
1187:
1183:
1176:
1165:
1162:
1159:
1156:
1153:
1150:
1146:
1143:
1142:
1140:
1137:
1134:
1131:
1128:
1125:
1124:
1122:
1118:
1114:
1113:
1107:
1103:
1096:
1091:
1089:
1084:
1082:
1077:
1076:
1073:
1067:
1064:
1061:
1057:
1054:
1053:
1043:
1037:
1033:
1028:
1027:
1007:
1003:
999:
993:
977:
973:
966:
956:
947:
938:
922:
918:
912:
903:
895:
888:
879:
877:
868:
864:
857:
855:
846:
845:Chemical Week
839:
831:
827:
823:
819:
816:(3â4): 63â5.
815:
811:
810:
802:
800:
783:
779:
773:
765:
758:
742:
738:
731:
729:
712:
708:
702:
686:
682:
675:
673:
671:
669:
653:
649:
645:
641:
634:
619:
615:
608:
602:
598:
591:
584:
579:
570:
568:
561:, p. 24.
560:
555:
551:
544:
542:
536:
533:
528:
526:
523:According to
516:
514:
508:
506:
500:
486:
484:
479:
476:
466:
464:
463:
457:
452:
450:
446:
442:
438:
432:
430:
426:
423:
419:
414:
405:
403:
398:
394:
391:
376:
375:armature bars
361:
359:
355:
350:
349:zinc silicate
346:
341:
339:
328:
326:
321:
316:
314:
313:Bolivar, Ohio
308:
305:
300:
297:
296:Union Carbide
292:
282:
278:
276:
272:
267:
265:
261:
257:
246:
243:
239:
233:
230:
229:
223:
218:
203:
201:
197:
193:
192:
187:
181:
179:
175:
171:
165:
163:
159:
154:
152:
148:
144:
140:
139:central pylon
134:
132:
128:
127:metals expert
123:
119:
114:
112:
108:
101:
97:
93:
88:
81:
76:
67:
65:
60:
57:
56:Vercingétorix
53:
49:
45:
41:
37:
33:
29:
20:
16:
2686:
2679:
2658:
2649:
2640:
2531:Folk process
2486:Ethnopoetics
2444:preservation
2304:Neon objects
2177:by item type
2168:Conservation
2121:by item type
2112:Conservation
2062:Overpainting
2022:Display case
1851:Repatriation
1514:Ellis Island
1494:
1484:
1418:
1398:
1392:Miss Liberty
1390:
1382:
1344:
1129:, originator
1110:
1031:
1010:. Retrieved
1008:. p. B1
1005:
992:
980:. Retrieved
978:. p. B3
975:
965:
955:
946:
937:
925:. Retrieved
920:
911:
902:
893:
887:
867:Science News
866:
844:
838:
813:
807:
786:. Retrieved
782:the original
772:
763:
757:
745:. Retrieved
743:. p. B1
740:
715:. Retrieved
710:
701:
689:. Retrieved
687:. p. C1
684:
655:. Retrieved
643:
633:
621:. Retrieved
617:
607:
590:
585:, p. 2.
578:
554:
540:
537:
531:
529:
524:
522:
509:
504:
501:
497:
480:
474:
472:
461:
455:
453:
433:
411:
399:
395:
389:
372:
342:
334:
317:
309:
301:
288:
279:
268:
255:
252:
234:
226:
214:
189:
182:
166:
161:
157:
155:
135:
117:
115:
111:Ellis Island
104:
91:
61:
31:
25:
15:
2687:H.L. Hunley
2466:Early music
2414:Vinyl discs
2409:Totem poles
2344:Photographs
2289:Lighthouses
2279:Lacquerware
2234:Fur objects
2172:of movable
2102:VisualAudio
2047:Leafcasting
1992:Anastylosis
1939:Mount maker
1899:Art handler
1756:Finding aid
1606:Archaeology
1268:(1876â1882)
788:November 1,
657:December 5,
623:December 5,
618:Vanity Fair
462:Smithsonian
222:scaffolding
131:white paper
52:Aimé Millet
2745:Categories
2526:Folk music
2506:Folk dance
2439:Intangible
2037:Inpainting
1904:Auctioneer
1894:Art dealer
1846:Provenance
1651:Collecting
1584:and issues
1160:, pedestal
1141:, builder
1135:, sculptor
547:References
465:magazine.
302:While the
178:Les Wexner
174:Bill Gates
2641:Ecce Homo
2536:Folk play
2389:Taxidermy
2334:Parchment
2314:Paintings
1889:Archivist
1355:Leicester
1295:Las Vegas
1252:locations
1185:Engineers
652:0362-4331
515:in 1886.
451:company.
418:Ferralium
304:cryogenic
2627:projects
2541:Foodways
2501:Folk art
2496:Folklore
2394:Textiles
2244:Herbaria
2219:Feathers
2184:Aircraft
2042:Kintsugi
1866:Treasure
1502:Libertas
1338:France:
1286:Replicas
1211:Location
1120:Creators
232:Island.
2625:Notable
2329:Papyrus
2274:Judaica
2133:Frescos
1978:Methods
1929:Curator
1611:Archive
1478:Related
1415:, 1986
1330:Seattle
1145:company
1062:website
1058:at the
1024:Sources
1012:July 4,
982:July 4,
927:July 4,
830:1494040
747:July 4,
717:July 4,
691:July 4,
382:⁄
92:Liberty
2721:Portal
2294:Metals
2209:Clocks
1821:Museum
1811:Midden
1582:Topics
1364:Legacy
1277:(1878)
1273:Head:
1262:(1876)
1250:Former
1038:
828:
650:
599:
449:DuPont
413:Copper
347:for a
260:salmon
242:patina
194:, the
143:copper
82:(2008)
2735:1980s
1880:Roles
1856:Ruins
1761:Fonds
826:JSTOR
469:Torch
425:alloy
264:penny
2224:Film
1621:Book
1573:and
1036:ISBN
1014:2013
984:2013
960:267.
929:2013
790:2015
749:2013
719:2013
693:2013
659:2018
648:ISSN
625:2018
597:ISBN
445:PTFE
345:NASA
176:and
116:The
26:The
818:doi
98:on
54:'s
38:in
2747::
1004:.
974:.
919:.
875:^
865:.
853:^
824:.
814:16
812:.
798:^
739:.
727:^
709:.
683:.
667:^
646:.
642:.
616:.
566:^
327:.
180:.
2723::
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1094:e
1087:t
1080:v
1044:.
1016:.
986:.
931:.
869:.
832:.
820::
792:.
751:.
721:.
695:.
661:.
627:.
384:8
380:5
30:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
